"TT 'ho b 



Architectural Specifications 

For the painting, enameling, 
staining and finishing of woods 
generally in a medium and 
first class manner, also for the 
painting of brick, plaster, ce- 
ment, concrete, iron, etc. 
Special attention is called to 
the notes attached for an ex- 
planation of the reason why, etc. 









D fr 



CONTENTS 






WOOD WORK. 

Painting New Exterior — Medium Page 5 Note 1 Page 18 

First Class Page 5 Note 1 Page 18 

Repainting of Exterior Page 5 Note 2 Page 22 

Staining of Exterior — Medium Page 6 Note 3 Page 23 

First Class Page 6 Note 3 Page 23 

Staining of Shingles Page 6 Note 3 Page 23 

Restaining of Exterior Page 7 Note 4 Page 24 

Plain Painting for Interior New 

Wood Work Page 11 Note 13 Page 31 

Painting and Graining Interior New 

Wood Work Page 11 Note 14 Page 32 

Natural Finish for New Interior 

Soft Woods Page 11 Note 15 Page 33 

Staining and Varnishing New In- 
terior Soft Woods Page 12 Note 16 Page 33 

Painting and Enameling Interior 

New Wood Work — Medium Page 12 Note 17 Page 34 

First Class Page 13 Notes 17 & 18 Pages 34-36 

Varnishing and Finishing of Hard- 
woods — Medium Page 14 Note 22 Page 42 

First Class Page 15 Note 23 Page 43 

Staining and Waxing of Hardwoods 

Medium Page 15 Note 24 Page 44 

First Class Page 15 Note 25 Page 45 

Finishing Pine Floors Page 16 Note 26 Page 47 

Varnish Finish for Hardwood Floors Page 16 Note 27 Page 48 

Wax Finishing of Hardwood Floors Page 17 Note 28 Page 49 

BRICK WORK. 

Painting New Exterior Page 7 Note 5 Page 24 

Repainting Old Exterior Page 7 Notes 5 & 6 Pages 24-25 

PLASTER, CEMENT & CONCRETE. 

Painting New Exterior Page 8 Note 7 Page 26 

Repainting Old Exterior Page 8 Note 7 Page 26 

Painting New Plaster or Cement 
with Distemper Colors or Calci- 
mine Page 13 Note 19 Page 36 

Painting and Varnishing New Interi- 
or Plaster and Cement Surfaces 

Medium «., • Page 13 Note 20 Page 37 

First Class,; Page 14 Notes 21, 7 Pages 38,26 

IRON AND STEEL WORK. 

Painting Exterior New — First Class Page 8 Note 8 Page 28 

Medium Page 9 Note 9 Page 29 

Repainting of Exterior Iron Fences... Page 9 Notes 9 & 8 Pages 29,28 

Painting Exterior Galvanized Iron. ..Page 10 Note 10 Page 30 

COPPER WORK.— Painting of Page 10 Note 11 Page 31 

TIN WORK— Painting of Page 10 Note 12 Page 31 



/-% ^ ^7c/^ 



PREFACE. 

Mr. President and Members of the Master 
House Painters and Decorators Association of Penn- 
sylvania in convention assembled. 

Gentlemen. In compliance with your request 
ami the solicitations of a number of Pennsylvania Ar- 
chitects, 1 have endeavored to compile a general 
working - specification covering the painting and fin- 
ishing of wood, brick, plaster, cement, iron and steel. 
After getting a proper start the work became very 
fascinating, but as to its ease, try it. 

I do not entertain the thought for a moment 
that all practical house painters will quite agree 
with me in all my assertions and conclusions. I 
have not stated them as a theorist, but have drawn 
from my personal experience of years as man and 
master in the arts of house painting and finishing. I 
freely allow to others what I claim for myself. Where 
a difference of opinion would appear to exist, I am 
quite sure a satisfactory and practical adjustment 
could be arrived at without much controversy, or 
change in these specifications, provided it be not a 
case of "When Greek meets Greek." 

T am quite well aware of many "short cuts" be- 
ing traversed to produce results cheap and quick, or 
near right for the present. I have endeavored to 
make these specifications a standard, for there is 
no "Royal Road" to a substantially painted and fin- 
ished structure. 

3 



It is not my purpose to exploit any particular ma- 
terials, but some things not generally known, but of 
special virtue I have mentioned, firmly believing it 
to be to your advantage to give them a fair trial. At 
any time I shall be pleased to attempt to answer any 
reasonable question regarding these specifications, 
or materials. 

It is practically impossible to provide in these 
or any stereotyped specifications for all contingencies 
that arise from time to time. I have endeavored to 
protect the Architect while being fair to the Painter. 
I would recommend to the Architect that he select 
one or more Master Painters in his vicinity having 
a good reputation and practical knowledge of the 
business, and that he make in a measure a confidant 
of such when seeking information regarding materi- 
als and the best means to employ or specify for the 
securing of certain results. No Architect should feel 
himself as being under any special obligation to such 
painter or painters, nor would any fair man want him 
to be. 

Hoping this report will in a measure fill the re- 
quirements, or at least be the forerunner of some 
future one more perfect in details, 
Very sincerely, 

John Dewar, 
January, 1913. Pittsburgh, Pa. 



NOTE.— Any person or persons desiring to publish this 
specification and notes, or any portion of either must re- 
ceive the consent of the author in writing to do so. A 
copy will be sent any one interested, on application. 



ARCHITECTURAL SPECIFICATIONS. 

For the painting, enameling", staining and finish- 
ing of woods generally in a medium and first class 
manner, also for the painting of brick, plaster, ce- 
ment, concrete, iron, etc. Special attention is called 
to the notes attached for an explanation of the reas- 
on why, etc. 

Painting New Exterior Woodwork. 

Medium — All knots, rosin and sap portions shall be 
properly shellaced. Paint one coat white prim- 
ing brushed well into the wood, after which all 
nail holes, open joints and other imperfections 
shall be closed solid with putty containing 20 
per cent white lead, then apply two coats of 
paint, colors to be selected. Each coat must be 
thoroughly dry before the application of anoth- 
er. Paint the back of all window and door 
frames one coat before setting, sash runners of 
window frames to receive two coats of oil, stain- 
ed if required, the last coat to be applied at 
completion. Xo paint to be applied during wet 
or foggy weather. (See Note 1). 

First Class — Wood work should be painted as above 
specified using one additional coat. (See Note 1) 

Repainting of Exterior Wood Work. 

Remove such old paint as may be necessary 
from exterior wood work by scraping, burning 
5 



or with paint remover as conditions may require. 
Sandpaper and touch up with paint one or two 
coats as found necessary all of that portion from 
which the old paint has been removed. Paint 
all wood work two coats, colors to be selected. 
Do all necessary sandpapering and puttying. (See 
Note 2). 



Staining of Exterior Wood Work. 

Medium — All exterior wood work (or a portion as 
the case may be) to receive one coat of linseed 
oil stain, brushed well and uniformly into the 
wood. Color to be as required. Pigments to be 
selected for their permanency of color. Vehicle 
to consist of 40 per cent of 160 degree benzole 
and 60 per cent raw linseed oil, all nail holes 
and other imperfections to be closed with lead 
putty colored to match stain, then apply one 
good coat of raw linseed oil containing 10 per 
cent turpentime. (See Note 3) 

First Class — Specify one additional coat of oil con- 
taining 10 per cent turpentine. (See Note 3) 

Staining Shingles.— Dip shingles two-thirds their 
length in stain specified as above, color to be 
determined. After shingles are in position touch 
up and apply one coat of linseed oil containing 
10 per cent turpentine. (See Note 3). 



Restaining of Exterior Wood Work. 

Trepare and restain all or such portion of ex- 
terior wood work as may be found necessary, 
color conforming closely to original stain. Coat 
all stained wood work with two coats of linseed 
oil containing 10 per cent turpentine. Between 
first and second coats close up all imperfections 
with putty colored to match stain. (See Note 4) 

Painting New Exterior Brick Work. 

Taint all new exterior brick work two good 
coats of Venetian Red containing about 20 per 
cent white lead, the vehicle to consist of 80 per 
cent linseed oil and 20 per cent turpentine, after 
which apply one coat of Flat Brick Color, shade 
to be selected. Care must be exercised to cov- 
er thoroughly and cut in neatly each stretch so 
as to produce a uniform flat surface. This color 
must not be worked too thin. (See Note 5) 

Repainting Old Exterior Brick Work. 

Close up all open joints and other imperfec- 
tions. Touch up with paint all such places in- 
cluding any portion from which the paint has 
been badly worn. Paint all exterior brick work, 
one coat of Venetian Red containing about 20 
per cent white lead, the vehicle to consist of 80 
per cent linseed oil and 20 per cent pure tur- 
pentine, after which apply one coat of Flat 
Brick color, shade to be selected. Care must be 
exercised to cover thoroughly and cut in neatly 
7 



each stretch so as to produce a uniform flat sur- 
face. This color must not be worked too thin. 
(See Notes 5 and 6) 

Painting New Exterior Plaster, Cement and Con- 
crete. 

Prepare and close up all cracks and other sur- 
face imperfections with plaster or cement. To 
all surfaces apply a thorough coat of "Mac- 
nichol's Basic Coater," giving twenty-four hours 
to dry, after which apply three coats of paint, 
color to be selected, each coat to be thoroughly 
dry before the application of another. The plas- 
ter or cement must be thoroughly dry before 
painting. (See Note 7) 

Repainting Old Exterior Plaster, Cement and Con- 
crete. 

Scrape off old paint where necessary, close up 
all cracks and other surface imperfections with 
plaster or cement. Apply a good coat of "Mac- 
nichol's Basic Coater" over all new cement or 
plaster, giving twenty-four hours to dry, after 
which apply two coats of paint, color to be se- 
lected, each coat to be thoroughly dry before 
the application of another. The plaster or ce- 
ment must be thoroughly dry before painting. 
(See Note 7) 

Painting Exterior New Iron and Steel. 

First Class — All iron or steel work shall be gone 
over carefully before painting and any dirt or 



corrosion shall be removed by the aid of steel 
brushes. Paint all iron work with one coat of 
"Kardite" chromatized red lead mixed on the 
job in the proportion of 25 lbs. to one gallon 
of pure linseed oil, or with "Kardite" Red Rust 
luhibitive Paint," after which apply two coats of 
pure lamp black mixed with "Flexible Com- 
pound," or pure linseed oil, or any other pig- 
ment necessary to produce the desired color. In 
using "Flexible Compound" as a vehicle no tur- 
pentine nor dryer should be used, each coat must 
be thoroughly dry before applying another, (See 
.Vote 8) 

Medium — All iron work shall be gone over carefully 
before painting and any dirt or corrosion shall 
be removed by the aid of steel brushes. Paint 
all iron work with one coat of Pure Red Lead, 
the vehicle being 80 per cent raw linseed oil and 
20 per cent turpentine, after which apply two 
coats of pure lamp black with the addition of a 
small quantity of Prussian Blue, mixed with 
about 90 per cent linseed oil and 10 per cent 
turpentine. Each coat must be thoroughly dry 
before applying another. (See Note 9) 

Repainting of Exterior Iron Fences, etc. 

Remove all loose paint and corrosion by scrap- 
ing and a steel brush. Touch up with Pure Red 
Lead all that portion from which the paint is 
removed. Paint all surfaces two coats pure lamp 
black, adding a small quantity of Prussian Blue. 
9 



with "Flexible Compound.*' Each coat must be 
thoroughly dry before applying another. Use 
no turpentine or dryer in this Compound. (See 
Note 9 and 8) 

Painting Exterior Galvanized Iron. 

All galvanized iron work shall receive one 
thorough coat of a solution made by dissolving 
6 ounces, of Copper Acetate in one gallon of 
warm water. This preparation must be thor- 
oughly brushed on, when dry apply one coat of 
Pure Red Lead mixed with 50 per cent linseed 
oil and 50 per cent turpentine, followed by two 
coats of paint, color to be selected. (See Note 10) 

Painting Copper Work. 

All copper surfaces to be thoroughly sponged 
off with 160 degree benzole, after which apply 
one coat of Pure Red Lead mixed with 50 per 
cent linseed oil and 50 per cent turpentine, well 
rubbed out. Then apply two coats of paint, col- 
or to be selected. (See Note it) 

Painting Tin Work. 

Remove all rosin and other imperfections. 

Paint as soon as practicable all tin work one 

coat of Pure Red Lead mixed with 60 per cent 

raw linseed oil and 40 per cent turpentine, after 

which apply one coat of Venetian Red or 

Princes Metalic Brown, mixed in pure boiled oil. 

{See Note 12) 

10 



Plain Painting for Interior New Wood Work. 

Shellac all knots and sap-wood, paint wood 
work (locating same) three good coats, color to 
be selected. After the first or priming coat close 
up with lead putty all nail holes and other im- 
perfections. Do all necessary sandpapering be- 
tween coats. (See Note 13) 

Painting and Graining Interior New Wood Work. 

Shellac all knots and sapwood, paint all wood 
work (locating same) two coats, no oil to be used 
in this paint other than that in which the lead 
is ground. In mixing use a small quantity of a 
good mixing varnish, thinning with turpentine 
so that the paint will dry with a flat egg shell 
gloss, sandpapering each coat perfectly smooth. 

< irain in best manner in imitation of Hardwood to be 
selected, the graining color to be used as flat 
as possible, consisten with working out. Var- 
nish all grained work one coat of a good wear- 
ing body varnish. (See Note 14) 

Natural Finish for New Interior Soft Woods. 

All wood work shall be thoroughly gone over, 
cleaned up and sandpapered where necessary, 
after which apply one coat of white shellac and 
two coats of a good wearing body varnish, the 
last coat to be evenly flowed on. After shellac- 
ing close up all nail holes and other imperfec- 
tions with putty colored to match wood, being 
11 



careful to rub off any surplus putty. Sand- 
paper thoroughly between coats. (See Note 15) 

Staining and Varnishing New Interior Soft Woods 

All wood work shall receive one light coat of 
25 per cent linseed oil and 75 per cent turpen- 
tine, sandpaper and stain in best manner with 
an oil stain containing about 50 per cent turpen- 
tine, color to be selected. Close up all nail holes 
and other imperfections with lead putty colored 
to match stain, being careful to wipe off any 
surplus putty marks. Varnish all stained work 
two good coats of a strong wearing body var- 
nish, the last coat to be evenly flowed on. Sand- 
paper between coats, each coat to be thoroughly 
dry before another is applied. (See Note 16) 

Painting and Enameling Interior New Wood Work 

Medium — All wood work (specify location) shall be 
gone over carefully. Shellac all knots and sap 
portions. Prime with one thin coat of white 
paint, well brushed into the wood, after which 
sandpaper thoroughly, closing up all nail holes 
and other imperfections with lead putty. Apply 
one medium coat of pure grain alcohol white 
shellac. Sandpaper lightly. Apply three coats 
of white paint consisting of about 60 per cent 
white lead and 40 per cent zinc oxide, and one 
coat of straight pure zinc oxide, followed by 
one coat of best enamel, freely and evenly ap- 
plied, all coats to be tinted as required. Each 
12 



coat must be thoroughly dry and well sandpap- 
ered before the application of another. (See 
Note iy) 

First Class — Apply one additional coat to the above 
specification (four coats) after the shellac, fol- 
lowed by the straight zinc and two coats of best 
enamel, the last coat of enamel to be evenly 
rubbed with water and powered pumice stone to 
a satin or china gloss finish. (See Notes 17 and 
18) 

Painting New Plaster or Cement With Distemper 
Colors or Calcimine. 

Close up all cracks and other imperfections 
with plaster or cement. After which apply one 
full coat of "Macnichol's Basic Coater," well 
brushed in, allowing twenty-four hours to dry. 
Then apply one medium or light coat of paint 
as a size, to consist of at least 50 per cent linseed 
oil, to be followed when dry with one full, free 
and even coat of calcimine or prepared distem- 
per paint. If one coat of distemper paint does 
not produce a solid surface, one additional coat 
must be given. Thoroughly protect all surround- 
ings. (See Note 19). 

Painting and Varnishing New Interior Plaster and 
Cement Surfaces. 

Medium — Close up all cracks and other imperfec- 
tions with plaster or cement. Apply one full 
13 



coat of "Macnichol's Basic Coater" to all plas- 
ter or cement surfaces, brushed well in, giving 
twenty-four hours to dry, after which apply 
three coats of paint, color to be selected. Then 
apply one full coat of a good wearing varnish. 
Each coat to be perfectly dry before the appli- 
cation of another. (See Note 20) 

First Class — Sandpaper all surfaces, close up with 
plaster or cement all cracks or other imperfec- 
tions. Apply one full coat of "Macnichol's Basic 
Coater" well brushed in, giving twenty-four 
hours to dry, after which paint all surfaces four 
coats, color to be selected. The paint should be 
composed of 60 per cent white lead and 40 per 
cent pure zinc oxide, the first coat to contain 
about 50 per cent oil, to per cent of a good mix- 
ing varnish and 40 per cent turpentine, the three 
subsequent coats to contain about 30 per cent 
oil, 20 per cent varnish and 50 per cent turpen- 
tine, the last coat to be lightly and evenly stip- 
pled. Each coat must be thoroughly dry be- 
fore the application of another. (See Notes 21 
and 7) 

Varnishing and Finishing of Hardwoods. 

Medium — Sandpaper and remove all surfaces de- 
fects, stain if desired, fill with best paste filler, 
colored if necessary, thoroughly cleaning sur- 
face and mouldings. Shellac one coat and var- 
nish two coats of a good varnish suitable for this 
14 



purpose. After the shellac coat, close up all nail 
holes and other imperfection.-, with lead putty, 
colored as required, all surplus putty to be care- 
fully wiped off. Sandpaper between each coat. 
Care must be taken during varnishing- to keep 
the premises as free from dust as possible. (See 
Note 22) 

First Class — Sandpaper and remove all surface de- 
fects. Stain if required. Fill with best paste 
filler, colored if necessary. Thoroughly clean all 
surfaces and mouldings. Shellac one coat pure 
grain alcohol shellac and varnish four coats of a 
first class varnish designed for this class of 
work. Rub all varnish surfaces true and even 
with oil and pumice stone to a dull satin finish. 
Thoroughly clean all oil and pumice stone from 
surface. Each coat must be thoroughly dry and 
sandpapered before the application of another. 
Care must be taken during varnishing to keep 
premises as free from dust as possible. (See 
Note 23) 

Staining and Waxing of Hardwoods. 

Medium — Stain all work with an approved stain, 
color to be selected. Do necessary sandpaper- 
ing, after which apply one coat of paste filler, 
colored to conform with stain. Thoroughly 
clean all surfaces and apply one medium coat of 
shellac. Sandpaper lightly and apply one good 
coat of an approved finishing wax, permitting 
15 



it to stand until semi-hard, then to be thorough- 
ly rubbed and polished to a hard surface. (See 
Note 24) 

First Class — Coat all surfaces (specify location) with 
one medium coat of clean water (this for oak on- 
ly). When thoroughly dry, sandpaper to a per- 
fectly smooth finish, after which stain uniformly 
and in best manner with an approved water stain, 
color to be selected. Sandpaper lightly and fill 
with paste filler, colored to conform with stain. 
Apply one coat of pure grain alcohol shellac, 
sandpaper lightly, after which apply two coats 
of an approved finishing wax, giving three days 
between coats. Permit each coat to become 
semi-hard, then to be thoroughly rubbed and 
polished to a hard surface. (See Note 25) 

Finishing Pine Floors. 

Thoroughly cleanse and remove all surface im- 
perfections, shellac one coat and varnish two 
coats of a good varnish designed for this pur- 
pose, each coat must be thoroughly dry before 
the application of another. All necessary care 
must be taken to protect this work from dam- 
age. (See Note 26) 

Varnish Finish for Hardwood Floors. 

Thoroughly cleanse and remove all surface im- 
perfections. Fill all wood work with . a good 
paste filler, cleaning thoroughly from surface. 
16 



Stain it required. Shellac one coat and varnish 
two coats of best varnish designed for floor use. 
Each coat must be thoroughly dry before the 
application of another. Care must be taken to 
protect floors from damage. (See Note 2j) 

Wax Finishing of Hardwood Floors. 

Thoroughly cleanse and remove all surface 
imperfections, fill all* wood surface with one 
coat of best paste filler, thoroughly cleansing 
same when semi-dry. from surface. Stain if re- 
quired. Apply one thin even coat of pure grain 
alcohol shellac. Sandpaper lightly without show- 
ing laps, after which apply two coats of best 
"Prepared Floor Wax," giving two or three 
days between coats. Each coat must be thor- 
oughly rubbed to a hard dry surface. Care 
must be taken to protect floors from damage. 
( See Note 28) 



17 



NOTES 



Note 1.— All authorities agree that pure raw linseed 
oil and pure spirits of turpentine are the best 
vehicles for exterior paints. The vehicle of first 
or priming coat on new wood, also second coat, 
should consist of 80 per cent pure raw linseed 
oil and 20 per cent pure spirits of turpentine, 
the final coat 90 per cent pure raw linseed oil 
and 10 per cent pure spirits of turpentine, all to 
contain necessary driers. When four coats are 
used the first, second and third coats should be 
composed of 80 per cent oil and 20 per cent tur- 
pentine, the fourth coat 90 per cent oil and 10 
per cent turpentine. 

There exists some diversity of opinion as to 
the best paint pigment or pigments in combina- 
ton. How necessary it should be that the con- 
struction of a paint film be as near perfect as 
possible. The necessity of this should be ap- 
parent to us all, especially when we are confront- 
ed with the fact that "the average paint coating 
is only three one-thousandths of an inch thick, 
and yet this thin coating is required to withstand 
expansion and contraction of the underlying 
surface, abrasion or wear from storms of dust 
and sand, or rain, sleet, hail, and absorbing, 
drawing and expanding influences of the sum- 
mer's sun and contraction from the cold of win- 
1S 



ter. It must have both hardness, to withstand 
to a reasonable extent this surface wear, and 
yet enough elasticity to meet internal strain and 
to conform to changes in the underlying sur- 
face, and it must penetrate and cling to the sur- 
face upon which it is applied. It must also re- 
tard and prevent from access to the underlying 
surface both the moisture and atmospheric gas- 
es which cause decay," and, if possessing the vir- 
tues of a good paint, it must in the course of 
time, when repainting becomes necessary, pre- 
sent a suitable foundation for the new paint 
coatings. 

It is generally accepted that a white or tinted 
base paint containing about 75 per cent whin- 
lead and 25 per cent zinc oxide is of a high stan- 
dard. When used near or at the sea shore, al- 
so in the southern states it can be improved by 
a change to the following: 60 per cent white 
lead and 40 per cent zinc oxide. The purpose 
in combining these two best paint pigments are. 
that the one makes strong the weak points of 
the other, giving us an ideal paint coating. The 
zinc makes the film stronger and harder, also 
practically non-absorbent by reason of those 
qualities and with its fineness of texture, fills up 
the voids caused by the coarser pigment. After 
a most thorough and practical personal investi- 
gation as to results I recommend the above 
combinations, having used them in my practice 
for years. I have the manufacturer combine and 
19 



;.,.'. Lhe two pigments together, thereby get- 
ting a thorough amalgamation. 

When the result required is a white or color 
tinted paint, it is advisable to use the same per- 
centage of different basic pigments and coloring- 
matter in all of the coats, on account of obtain- 
ing a uniform expansion and contraction, solidi- 
ty of color, etc. 

When "Prepared Mixed Paints" in paste form 
are used, the limit of inert pigments should be 
15 per cent. This percentage may be composed 
of barytes, silica or asbestine, or a mixture of 
such pigments. To this amount there should be 
no objection as up to that extent these inerts 
have their values as part of a good paint film, 
but vehicle proportions as set forth should be 
followed. 

The use of asbestine is principally to hold up 
in suspension the heavier pigments in the paint, 
its fluffy and rod-like form being valuable for this 
purpose. It is also said to act as a reinforcing 
pigment in the same way that iron bars act in 
reinforcing cement or concrete structures. 

Straight white lead makes a splendid primer. 
Ochre should never be used, nor boiled linseed 
oil for under coatings. When the color of the 
finishing coat is required to be a strong solid 
color such as green, red, etc., by using these 
strong colored paints from the foundation up 
you will not get a solidity of body, therefore I 
20 



would suggest the use of a strong tinted white 
base for under coatings. 

In the painting of cypress and southern yel- 
low pine the vehicle in the priming coat and 
priming coat only should be 40 per cent of 160 
degree benzole, 10 per cent pure spirits of tur- 
pentine and 50 per cent pure raw linseed oil, 
proceeding with the subsequent coats as speci- 
fied above. The character of these woods is 
such as will not permit of the penetration of 
paint made by the usual vehicle practice. With 
the turpentine and the addition of benzole which 
is one of the greatest penetrating solvents of 
rosin, gums and grease known, they carry the 
oil and pigment when well brushed out, into the 
wood and it there finds a lodgment forming a 
substantial and permanent foundation for the 
subsequent coatings. The benzole like turpen- 
tine after performing its mission evaporates en- 
tirely leaving no residue. (See Dewar's article 
on "Modern Lumber as a Problem for the Paint 
er.") 

From the beginning to the finish of a first 
class residence or other important operation 
considerable time may elapse, not infrequently 
a year or more, therefore a necessity for the ad- 
ditional or fourth coat of paint. I would rec- 
ommend for their distribution, after the priming 
or first coat and the necessary puttying up, that 
the second coat be applied, the third and fourth 
coats about the time of completion of building. 
21 



Another substantial reason for the fourth coat 
is that the householder realizing that he has a 
new residence is usually less watchful as to any 
necessity for repainting for a term of years. 

With the application of the priming coat when 
the work is first put in place, followed by the 
two coats probably six months or a year after, 
such a condition will of necessity require repaint- 
ing in probably less than four years. This proves 
the economy of the fourth coat which under 
average conditions lasts as a protective agency 
for probably six or seven years before the neces- 
sity for repainting arises. 

Note 2. — In the work of repainting it is practically 
impossible to intelligently specify without being 
familiar with conditions, as so much depends up- 
on them. 

The basic paint pigments should be as specified 
in "Note J." The proportions of vehicles for first 
coat must be determined by conditions. For 
instance if the vehicle of the old paint coatings 
are dried out, leaving an absorbing surface, hun- 
gry as it were, the vehicle for first coat should 
consist of about 75 per cent raw linseed oil and 
25 per cent turpentine, second or final coat 90 
per cent raw linseed oil and 10 per cent turpen- 
tine, or if the surface be hard and non-absorb- 
ing the proper proportions of vehicle for first 
coat should be about 50 per cent oil and 50 per 
cent turpentine, the final coat 90 per cent oil and 
22 



io per cent turpentine. Not infrequently I have 
found it necessary in repainting from a number 
of causes to give all of the wood work three 
coats. 

The overcoming of these imperfect conditions 
and producing the best results possible is large- 
ly a work of diagnosis consisting of about 75 
per cent man and 25 per cent material. The rem- 
edy for the different ailments consists in the 
different proportions of the vehicle to meet the 
diversified conditions, and not with the pig- 
ments. 

The paint burner ever being a menace, I would 
discourage its use where possible. In every in- 
stance I would have the owner of the building 
give his consent to its use, also that he notify 
his insurance company and get a permit from 
it consenting to its use. 

Note 3.— This stain is suitable for all kinds of wood 
used for exterior finish, it must be remembered 
that a stain implies a transparent coloring and 
not a paint coating which is opaque. If it is de- 
sired to stain oak or cypress to a dark green or 
a dark brown color usually used on the timber- 
ing and finish of houses designed after the old 
English period, two coats of stain should be 
specified to get the necessary depth of color. To 
attempt this with one coat would result practi- 
cally in a paint coating, with the covering or 
hiding the figure of the wood. If it is desired 
23 



to stain oak silver grey or other light colors but 
one coat is necessary. Shingles owing to depth 
of color required, frequently require a second 
coat of stain after they are set in place. The 
use of benzole in the stain as I have stated be- 
comes the active penetrating factor, carrying the 
coloring matter and oil into the woods, it has 
about the same evaporating consistency as tur- 
pentine. 

There being a substantial difference between 
a paint coating and a stain, therefore the stain 
specified can be used when necessary for both 
coats. 

Where a perfectly flat surface is desired the 
second coat of oil may be an objection, but for 
durability I would recommend it, also for the 
reason that the oil gloss shortly flattens down. 

There are a number of very good shingle 
stains on the market. 

Note 4.— Restaining is also a work of diagnosis as 
to whether the entire work should be gone over 
with a light coat of stain or a portion, where the 
former is badly used up, and whether it should 
have one or two coats of oil. In this case an 
examination will quickly speak for itself. A coat 
of oil over the old stain will make quite a differ- 
ence in appearance of old color. 

Note 5.— If penciling or striping of joints in either 
white, black, or other color should be required, 
21 



specify same after the application of flat coat, 
the lines to be true to the size of brick and of 
uniform width. 

There are a number of Paint manufacturers 
who make a first class prepared "Flat Brick 
Color," in red, buff and grey, each consisting' of 
a number of shades, light, medium and dark, 
or they will furnish any required shade or color. 

This specification applies to flat red brick 
finish. If a buff or grey, flat brick color is re- 
quired, instead of Venetian Red, specify two 
coats of lead and oil paint, color to conform to 
brick selected. When a buff or grey brick color 
is desired it should be so stated in specifications, 
as a lead and zinc base paint costs considerable 
more than Venetian Red. 

For a gloss finish in either red, buff or grey, 
or any other color, three full coats are required, 
the final coat containing about 90 per cent lin- 
seed oil and 10 per cent turpentine. 

Note 6.— Do not expect the painter to be a brick 
mason. If any amount of repointing is neces- 
sary, make special arrangements for it. 

Usually one coat of oil color is sufficient, but 
where it is badly worn, give two coats of an oil 
paint, as it is practically necessary to have a 
uniform gloss surface before applying the flat 
brick color. 

For a bright gloss finish on old work in any 
color or shade, apply two full coats, the final 
25 



coat containing about 90 per cent oil and 10 per 
cent turpentine. 

Note 7.— Ail practical painters will agree with me 
that in painting over plaster and cement surfac- 
es many serious difficulties are encountered with 
a probability of much future trouble, by reason 
of the free lime and alkali formed in the drying 
out of these materials, they being a part of the 
composition of plaster and cements. Their des- 
tructive action on colors and paint vehicles are 
well known. A necessary qualification of a ce- 
ment paint is, that its vehicle and embellishing 
properties (colors) be not impaired in its contact 
with the cement or lime. After some years of 
personal investigation and experience in the use 
of "Macnichol's Basic Coater," it has proven it- 
self to me to be of inestimable value in the prep- 
aration of my plaster and cement surfaces for 
painting, or otherwise embellishing, by neutral- 
izing those destructive agencies, without in any 
manner what-so-ever impairing the strength or 
virtue of the cement or lime. In fact deteriora- 
tion of vehicle and colors are immune from those 
causes, also the elimination of the usual discol- 
orations so objectionable, when applied over 
"Macnichol's Basic Coater." Scientific investi- 
gation into its action and merits has shown an 
improvement to the cement and lime. It should 
be freely applied and when dry it acts in a meas- 
ure as a light sizing coat over which any paint 
can be applied with perfect safety. 

2G 



A very necessary qualification of a cement 
paint is also its resisting and non-absorbing abil 
ity to keep out water and dampness. One hun- 
dred per cent of the present day cement paints 
are designed for that purpose. Eighty per cent 
of them shortly break down, owing to their faul- 
ty composition, in the use of practically un- 
known and not thoroughly tried out vehicles, 
also because of the disintegrating action of the 
alkali in the cement and lime. With the use o* 
"Macnichol's Basic Coater" I have no hesitancy 
in recommending the use of the following paint : 
pigments, yo per cent white lead, 30 per cent 
zinc oxide ; vehicle, 80 per cent raw linseed oil, 
20 per cent turpentine ; for the last coat, 90 per 
cent raw linseed oil and 10 per cent turpentine, 
each coat to contain one pint of a good gum 
mixing varnish to the gallon of paint. It must 
be of good body and well worked into the sur- 
face, each coat to be thoroughly dry before the 
application of another. 

If a semi-flat surface is desired for final coat 
reduce quantity of oil in same. There are a num- 
ber of very good paints found on the market 
practically designed for this class of work, but 
I certainly would recommend the use of "Mac- 
nichol's Basic Coater" in conjunction with them. 
In the use of a semi-flat coat for a finish I would 
positively recommend the under coating to be of 
a good gloss for the reason that the more flat a 
paint is the more its absorbing properties, do 
27 



not overlook the fact that an outside cement paint 
is under consideration. 

For old brick work repointed with cement or 
lime, before repainting, I would recommend a 
coat of "Macnichol's Basic Coater" as a prevent 
ative of the alkali in the pointing material from 
destroying the color of the paint. 

No paint should be applied over dampness. It 
is not in accord with nature's laws that a paint 
film should withstand the actions emanating 
from a wet foundation and not disintegrate 
quickly. The observing painters know whereof 
I speak. 

Note 8.— 'Kardite Red Lead" is a chromatized prep- 
aration, it acting as an inhibitor of corrosion on 
iron and steel. "Kardite Red Rust Inhibitive 
Paint" can be purchased in the market in mixed 
form ready for application without reduction. 
See Bulletin on "The Preservation of Iron and 
Steel" by Drs. Allerton S. Cushman and H. A. 
Gardner, also write them for farther information 
concerning "Kardite Paint," care of The Insti- 
tute of Industrial Research, Washington, D. C. 
"Flexible Compound" is a special prepared oil 
containing compounds which make it very dur- 
able and water resisting, turpentine and dryer 
must not be used in connection with it, raw lin- 
seed oil may be used as a reducer to the extent 
of 50 per cent. I have used "Flexible Com- 
pound with splendid success, for structural iron 
28 



and steel, also for iron fencing I know of no bet- 
ter paint. 

Note 9.— "Red Lead" when found to be pure is of 
exceptional merit as an iron and steel paint pig- 
ment. For structural work two coats may be 
applied. This lead is found to be very much 
adulterated, especially when purchased in bulk 
for large operations, but it can be procured 
pure. A circumstance comes to mind. A very 
large steel construction building was under erec- 
tion. The Engineers' specifications called for 
"all steel work to be painted two coats of 'Pure 
Red Lead,' one at the mill, the other when as- 
sembled." The contractor bought and paid for 
what he supposed to be "Pure Red Lead." It 
having the color of that pigment, he took it for 
granted that it was the true article as specified 
and ordered by him. The operation was finished 
with it, but a portion of the so-called "Pure Red 
Lead" was procured from the building and on 
analysis it was found to contain 60 per cent Red 
Lead and 40 per cent Calcium Carbonate (Whit- 
ing) which is proven to be a promoter of cor- 
rosion. 

Within the last year a process in the manufac- 
ture of Red Lead has been discovered which 
permits the painter to procure his red lead pure 
and in such a manner that it does not cake or 
harden in the package, thus eliminating its one 
great weakness. 

29 



Lamp black ground in linseed oil is also a 
first class pigment. For a more dense black add 
a small quantity of Prussian Blue. When this 
combination is mixed with "Flexible Compound" 
it produces a splendid paint for this purpose. 

Note 10.— The adhesion of paint to the surface of 
galvanized iron has long been a problem to the 
painter, but it has been practically demonstrated 
that the preparation specified will remove the 
objectionble features if thoroughly applied. Af- 
ter this solution remains on the metal for 24 
hours, it will have the effect of removing all 
the grease and other substances which interfere 
with proper painting. It will produce a black- 
ened, coppered surface to paint upon, which will 
readily hold the paint. Other solutions, such 
as a nitric acid and muriatic acid, cause rusting 
of the iron surface and interfere with proper 
painting. The use of copper acetate, however, 
will not cause such conditions in any manner 
whatsoever. Copper acetate is simply a solution 
of metallic copper in strong vinegar. It can be 
made by the painter himself, but it is cheaper to 
buy it in the drug store and mix it in hot Avater 
as specified. I would strongdv insist upon the 
first coat of paint being red lead with about 50 
per cent raw linseed oil and 50 per cent turpen- 
tine. If the color desired for the finish coat be 
dark, one additional coat will be sufficient, but if 
white or a light tinted color it will require at 
least two coats. 

30 



Note 11.— The adhesion of paint to copper surfaces 
has been quite a problem, the trouble being 
caused by an oil or grease used to keep the sur- 
face of the copper from becoming tarnished or 
stained while in stock and transportation. With 
the removal of these by the use of benzole as a 
cleaner, followed by a hard drying body of red 
lead, this forming a firm foundation for the sub- 
sequent paint coatings permanent results are se- 
cured. The writer does not approve of the 
painting of copper. 

Note 12.— For new tin work on roofs I would only 
recommend two coats of paint, and the applica- 
tion of one coat every two or three years there- 
after. The tin being an unabsorbing body, and 
with the accumulation of paints on the surface, 
with the expansion and contraction of the metal, 
checking and alligatoring would very shortly ap- 
pear. Also the snow and rain lying on the sur- 
face for an indefinite time, assists in creating 
the necessity for a careful watch of the tin roof 
work. 

White lead or graphite paint should not be 
applied directly to the new tin work, but for 
subsequent coatings there is no objection to 
them. 

Note 13.— If color required be white or lightly tint- 
ed, the wood work should first receive one coat 
of shellac to prevent discolorations from rosin 
and sapwood. If varnish coat should be required 
31 



over paint, specify all painted work to receive 
one coat of a good wearing light color varnish, 
evenly applied. 

Note 14.— If a first class job is required specify one 
additional coat of varnish to be full and evenly 
applied, each coat to be thoroughly dried before 
the application of another. If a flat finish is re- 
quired, specify the last coat of varnish to be 
rubbed evenly to a flat finish with crude oil and 
pumice stone, all oil and pumice stone to be 
thoroughly cleaned off at completion. 

A flat finish may be secured by using what is 
termed a "Flat Varnish." In the use of a flat 
varnish two coats are required, the first 
being a gloss varnish. About 50 per cent 
of these varnishes contain a large percentage of 
wax, over which you cannot apply at any future 
time paint or varnish, as neither will adhere 
permanently to a wax surface. The use of some 
of these flat varnishes is commendable, espe- 
cially in producing certain results on Natural 
Hardwoods. 

Graining is practically becoming a lost art, 
owing to the general use of Hardwoods. Where 
the work is well done this specification should 
produce splendid results. Some painters may 
not agree with me in the number of coats and 
manner of mixing the ground coating; let them 
try it and they will find no cracking or crazing 
32 



of their varnish, but of course the varnish must 
be good and undercoating perfectly dry. 

Woods best adapted to painting and graining 
are birch, cherry, maple, poplar and white pine. 

Note 15.— This would apply to white pine, poplar, 
yellow pine, cypress, etc. Some times a flat 
finish is required; in that case specify the rub- 
bing with oil and pumice stone to a dull even 
finish. I do not recommend close rubbing on 
two coats of varnish as it must be kept in mind 
that close rubbing will practically remove one 
coat of varnish. I do not recommend any rub- 
bing for servants quarters, nor yet for the aver- 
age medium job. 

The natural color of these woods is some- 
times an objection. In that case I add a "touch" 
of burnt sienna, or burnt and raw sienna, to the 
first coat of varnish, not sufficient to produce a 
stain, simply giving the wood a warm pleasing 
glow, removing the harshness of the natural 
color. 

Note 16.— The purpose of applying a thin coat of oil 
to the wood work before staining is that certain 
portions of the surface may be very much softer 
than others, in fact it may appear in spots, all 
over. With the application of the oil as speci- 
fied, you in a measure stop the suction of those 
soft places and get a practically uniform sur- 
face on which to work the stain. A thin coat of 
33 



shellac instead of the oil might be used, but I 
prefer the oil as thinned with the turpentine, as 
1 will get a more uniform absorption into the 
wood for the stain, the shellac in a measure 
stopping absorption. 

For a flat surface I would specify the rubbing 
with oil and pumice stone to a dull finish, for 
close rubbing I would specify one additional 
coat of varnish. This specification would apply 
to white and yellow pine, poplar, cypress, etc. 

Note 17.— With the application of a second coat of 
enamel this specification may be rubbed with 
water and powdered pumice stone to a very good 
finish. If a semi-gloss or flat finish is desired 
with but one coat of enamel, reduce the enamel 
by mixing into it a portion of the straight zinc 
coater necessary to give the condition required. 
To fully obtain this result requires very careful 
brushing, so as not to show laps, brush marks 
and cording, but it can be accomplished very 
nicely. 

With the exception of the priming coat no oil 
should be used except such as may be found in 
the stiff lead and zinc, the priming coat should 
consist of about 40 per cent oil and 60 per -cent 
turpentine, light of body and well brushed into 
the wood. I have my zinc for enameling pur- 
poses ground in Poppy oil, which greatly mini- 
mizes the chances of the work turning yellow 
when confined to a dark room. The use of lin- 
34 



seed oil is a strong factor in the work turning 
yellow when excluded from a strong light. In 
the preparation of my several under paint coat- 
ings I use instead of oil as a binder, a portion of 
a good mixing enamel varnish, each coat must 
he worked flat. In using the straight zinc ox- 
ide for a final coat of paint on this class of work 
I rind that I can get purer tints of greater va- 
riety, without the danger from chemical action 
that would result if I were to use some white 
leads. 

The straight zinc coat, should have an "egg- 
shell gloss" for the reason if it were perfectly 
rlat such as the under paint coatings should be, 
it would absorb and draw the liquid properties 
from the enamel coat, leaving a surface of ques- 
tionable uniformity. 

The different coats of paint from the shellac 
up should be tinted as required for the finish 
for by so doing you get a solidity of tint that 
you otherwise would not. For a perfect white 
job we often times "draw the lead." that is we 
break up the lead in turpentine to a thin con- 
sistency, permitting it to stand twenty-four 
hours, then pour the surface liquid off and you 
have remaining lead practically free from oil. 
With the percentage of zinc oxide specified and 
with the use of a good white enamel varnish, or 
what is better a portion of the enamel as a bind- 
er reduced with pure turpentine to a working 
consistency, you have a ground work for enam- 
35 



el finish that cannot be equaled, provided you 
permit each coat to become thoroughly dry be- 
fore the application of another. For a "dead 
white" we sometimes give the paint a "touch" 
of blue or black. 

If for the finishing coat an enamel varnish 
should be specified instead of "Prepared Enam- 
el" (and there are a number of good ones), speci- 
fy that a small portion of the zinc coat be added 
to the varnish for the reason that there are no 
good light varnishes made that will not discolor 
pure white and very delicate tints. A good 
enamel is expensive, but it is worth the money. 

The woods adapted for enameling are cherry, 
birch, maple, poplar and white pine. 

Note 18.— This specification if faithfully carried out 
will produce splendid results. For this high 
class work cherry, birch, or plain maple should 
be used ; good results can be secured on white 
pine or poplar. 

Note 19.— There are quite a number of most excel- 
lent distemper preparations on the market known 
by different names. The old fashioned Calci- 
mine still retains a substantial standing, largely 
owing to the ease with which it can be removed 
when refinishing becomes necessary. It is true 
the former is less absorbing, but extremely dif- 
ficult to remove. 

36 



There are a number of very good sizes that 
could be used for this purpose, but I know of no 
better one than a good coat of oil paint, white 
or lightly tinted, applied direct on the "Basic 
Coater." Its virtues are manifold, for instance 
when about 50 per cent linseed oil is used in the 
paint, and when thoroughly dry, it produces a 
splendid working surface, also a permanent siz- 
ing surface for future rerinishing, the old materi 
al can be readily cleansed from it, that is if the 
material used will permit of its being removed. 

Under no consideration use a Varnish Coating 
for sizing purposes, as it does not permit of any 
absorption and is extremely hard, in fact it is 
impossible to produce an even and uniform sur- 
face on a high gloss. There is also a very great 
tendency for the calcimine to loosen and flake 
off on account of the hardness of the varnish 
surface, which does not permit either materials 
to enter into it. 

Note 20.— If a bright gloss is objectionable, elimin- 
ate the coat of varnish. In the third coat speci- 
fy that sufficient of a good mixing varnish to 
produce a dull gloss be mixed into this coat and 
when applied it should be stippled lightly to pre- 
vent laps or brush marks. 

A varnish sizing gloss coat should never be 

applied direct on plaster or basic coater, for the 

reason that it does not penetrate, but dries on 

the surface, creating a substantial barricade, 

37 



which excludes and does not permit the subse- 
quent paint coatings, to enter into the surface, 
and form a substantial foundation. The result of 
this condition being a letting go, cracking and 
scaling of both varnish size and paint, caused by 
the drying out, expansion and contraction. 
Would recommend for a sizing a good coat 
of paint containing at least 50 per cent linseed 
oil, with no objection to 10 or 15 per cent var- 
nish, applied direct and well brushed into the 
plaster surface. When "Macnichol's Basic Coat- 
er" is used, the sizing coat should positively be 
applied on top of the basic coater. 

Note 21. — This formula will produce a paint practi- 
cally non-absorbing when properly applied, by 
reason largely of the fineness of the zinc oxide 
closing up all voids caused by the coarser pig- 
ments, also making the film stronger and not 
too hard. 

This formula does not produce a perfectly 
flat finish. By reducing the oil and varnish in 
the last coat and increasing the amount of tur- 
pentine we can get any degree of flatness de- 
sired. A small quantity of wax thoroughly dis- 
solved in turpentine and added to the final coat 
will also produce a flat finish. Of course prac- 
tical judgment must be exercised in the use of 
these vehicles to get just what is desired. This 
should be wholly left with the painter. The 
pigments do not enter into the question of gloss 
38 



or no gloss. It must be remembered that the 
flatter a paint surface is the more liable it is to 
absorption and less its strength and resisting 
power to shield off surface abrasions. 

If a strong gloss is desired, eliminate the stip- 
pling and apply one coat of a good wearing body 
varnish or a full coat of enamel evenly applied. 

Very frequently for fine residences, the walls 
and ceilings of certain rooms are first covered 
with a light canvas of heavy unbleached muslin 
of an extra width, or with a ''prepared muslin" 
or "sanitas" especially designed for painting pur- 
poses. In that case I would specify that the 
walls and ceilings (designating location) be prop- 
erly prepared and sized. Cover all surfaces with 
prepared muslin or canvas of an extra width, 
size same and properly glaze with lead putty all 
open joints, then proceed with painting as speci- 
fied. The "Macnichol Basic Coater" should be 
used applied directly to the plaster, it act- 
ing as a preventative against discolorations 
that frequently appear. I would recommend 
when a fabric covering is used that it be applied 
if possible to the walls before the putting in place 
of wood finish, so that around the different op- 
enings the wood may cover over a portion of 
the fabric. Of course the plaster must be thor- 
oughly dry. 

Splendid results have been attained by cover- 
ing ceiling and walls of bath rooms above tile 
wainscoting with prepared Sanitas. oaint three 



coats, after which apply two coats of white 
enamel (or it may be tinted), the last coat to be 
rubbed with water and pumice stone to a china 
gloss. Care must be taken that the rubbing be 
uniform and not showing laps. This is very 
sanitary and easily cleaned. 

Lately there has appeared on the market what 
is known as "Flat Wall Coaters." It is a paint 
intended for plaster surfaces. The novelty as 
well as popularity of these paints have also 
brought into the market many manufacturers of 
this article who have no scientific or practical 
knowledge of what should constitute a proficient 
and serviceable wall paint, but it must be ac- 
knowledged that among the many some can be 
found that are really proficient and are of most 
excellent appearance. The question at present is 
a perplexing one, what will be the results after re- 
painting a number of times with the same or with 
a similar material applied? I personally at this 
time would not care to hazard an opinion. With 
many of them it is a new innovation both in pig- 
ment and vehicle and must speak for its self in 
time to come, but as I have said a number of 
the brands look and work splendidly, with prom- 
ise of a good future. One great weakness 
among practically all of them is, that there is 
no distinction what-so-ever between the first and 
final coat. They are all of the one mix and sold 
as such it being a commercial proposition. The 
last coat shows a perfectly flat film. The first 
40 



coat being of the same identical composition and 
characteristics, is wholly unfit for a first coater, 
which to be proficient must penetrate into the 
plaster, which by nature of its composition it 
will not, simply drying' on the surface. The 
result will be shortly a breaking away from the 
plaster surface with scaling and flaking. Nor 
has any precaution been taken to protect the 
vehicle and colors from the destructive alkali 
found in the plaster and cements, which is most 
deteriorating to both of these essentials. There- 
fore I would most earnestly recommend that all 
plaster and cement surfaces be first coated with 
■'Macnichol's Basic Coater," allowing twenty- 
four hours to dry, and for the first coat of all 
prepared "Flat Wall Coaters." 1 would also 
add one-quarter gallon of linseed oil with a 
little dryer. That would cause the paint to 
penetrate into the plaster, forming a substantial 
foundation for subsequent coatings, with all 
danger of discolorations and deteriorating of ve- 
hicle and colors eliminated. 

Many of these "Flat Wall Coaters" are here 
to stay, therefore the necessity of painter and 
manufacturer getting wise as to their proper use. 

The stippling of paint should be done very 
lightly, simply an evening up as it were for the 
purpose of getting a uniform even surface. 
Coarse stipping should be avoided as it is most 
unsanitary, it providing a lodgment for microbes, 
etc.. among the surface abrasions 'caused by 
41 



heavy stippling, also by reason of the difficulty 
in thoroughly cleansing, owing to its coarse- 
ness. I would recommend the abolishment of 
the interior style of plastering known as "sand 
finish" for the above reasons. 

Many large office buildings hastening to com- 
pletion require of the painter that he proceed 
with the painting of plaster and cement surfaces, 
when they are still in an undry condition, often 
times quite wet. Such demands are ruinous to 
future good results. A paint used over the 
above conditions at best is but temporary and 
must not contain any varnish, very little oil and 
no zinc oxide. It must be as soft as possible to 
permit the dampness to exhale through the 
paint to the surface. The alkali being still ac- 
tive owing to excess of dampness, staining, blis- 
tering and peeling of the paint is a sure result. 

Note 22.— If the location of the finish justifies addi- 
tional expense and a flat surface is desired, speci- 
fy that the last coat of varnish be lightly rubbed 
with oil and pumice stone to a uniform dull fin- 
ish, thoroughly cleansing surface from all oil 
and pumice stone. In servants' portions of resi 
dences this is not justifiable. 

This specification pertains to all open grained 
woods such as oak, ash, chestnut, black walnut, 
etc. If cherry, birch, maple and such woods are 
used,' frequently the filling with paste filler is 
eliminated, the shellac coating filling require- 
42 



ments. In my own operations I invariably use 
the filler as specified, but quite thin in body, 
carefully wiping off filler from surface. For 
birch stained in imitation of mahogany I always 
omit the filler, shellacing direct on the stain, as 
frequently chemical action takes place when oil 
is brought in direct contact with mahogany stain 
used on birch. 

Note 23.— This specification applies to the finishing 
of red or white mahogany, cherry, birch, walnut, 
rosewood, etc. 

Frequently in finishing mahogany or other 
woods stained with a water stain in imitation of 
mahogany or otherwise, after lightly sandpaper- 
ing the stain, I apply a light coat of shellac di- 
rect on the stain, sandpaper lightly, then proceed 
with the filler and varnish as specified. White 
shellac should never be used on dark mahogany 
or mahogany stained, as it will in time bleach 
out white, showing a milky film under the var- 
nish. I also frequently omit both the shellac 
and filler, applying direct to the stain a coat of 
linseed oil reduced one half with turpentine con- 
taining a little dryer. After this has remained on 
for some time, wipe off carefully any oil that 
may remain on the surface, allow that which the 
wood has abosrbed to get perfectly dry, then 
proceed with the varnishing as specified. In 
this latter case four coats of varnish should be 
applied. 

43 



For white or birds-eye maple, holly, satin 
wood, etc., eliminate the filler and stain, specify 
two coats of pure grain acohol white shellac and 
three coats of an extra pale varnish, designed for 
this class of work, rubbing and finishing as speci 
fied. In bringing oil into contact with these and 
similar woods it has a tendency to darken, where- 
as the purpose is to keep them as light and na- 
tural as possible. 

For Italian or French walnut, Circassian wal- 
nut and similar woods, where it is so important 
that the natural colors and shading be preserved, 
eliminate the filler and apply as above two coats 
of pure grain alcohol white shellac and three 
coats of a light varnish, rubbing and finishing 
as specified. 

Fine carved work should never be varnished 
and rubbed as specified. Specify stain if neces- 
sary to conform with balance of wood, apply one 
light coat of shellac and two thin coats of wax, 
rubbed to a hard surface with stiff bristle brush. 
One medium or light coat of a good flat varnish 
in place of the wax will answer very nicely. 
The filler with the several coats of varnish will 
have a tendency to filling up and rounding the 
sharp edges and clean cutting so desirable in 
good carvings. 

Note 24. — This specification will apply to oak, ash, 
chestnut, mahogany, cherry, etc. If a finish with 
open wood pores is desired, eliminate the filling, 
but add one additional coat of wax. 
44 



Note 25.— This specification applies to oak, ash, 
chestnut, red and white mahogany, cherry, black 
walnut, etc., and calls for splendid results. A 
water stain is mentioned, it being the best and 
most satisfactory in showing up to advantage 
the general beauty of the natural shadings and 
figure of the woods. In staining it should be 
emphasized that it does not mean a covering up, 
but rather the bringing out. In oil stains the 
coloring matter is largely composed of pigments 
of a different character and as a rule they are 
permanent, but they have a strong tendency to 
cover up. Spirit stains are hard to apply and 
the results unsatisfactory, the coloring matter 
very often being fugitive. Where it is possible 
to attain the color requirements by the use of a 
water stain, and their number is legion, I 
would recommend it above all other. All wat- 
er stains raise the grain of the wood more or 
less, spirit stains very little and oil stains prac- 
tically none. In 'connection with the use of 
water stain I specify an application of clear wat- 
er to the oak wood direct (in my practice I find 
no harm to a good job of cabinet work accruing 
from its use), so that the surface particles may 
be raised, and then cut off with sandpaper so 
that the application of the water stain has no 
tendency to farther raise the grain. When the 
water coating is not used and the water stain 
is applied directly it requires so much sandpap- 
ering to recover again a smooth surface that 

45 



much of the stain and its effects are removed by 
the sandpapering. The water coating is very 
frequently omitted on less important work. 
When oil and spirit stains are used the water 
coat should be omitted, for other than oak wood 
it may also be omitted in the use of the water 
stain. 

Very frequently to get desired results I apply 
a light coat of shellac direct on top of stain, af- 
ter which I proceed with the filling as specified. 
I also frequently eliminate the shellac coating 
from on top of filler, applying wax direct on 
filler. The results desired must regulate the 
procedure. 

When an open grain or pore effect is desired 
omit the filler, but add one additional light coat 
of shellac. It is very essential in this class of 
work that the shellac be applied thin and even, 
showing no laps or brush marks. If a perfectly 
flat or dead finish is required omit both filler 
and shellac coatings, waxing as specified direct 
on the stain, although I would recommend the 
one coat of shellac. If the natural colors of the 
woods are to be retained omit the staining and 
proceed as specified and observing above notes. 

For white and birds-eye maple, satin wood, 
holly, French, Italian and Circassian walnut or 
any other similar woods, when required to be 
finished showing their natural colors, eliminate 
the water coat, stain and filler, specify two thin 
coats of pure grain alcohol white shellac evenly 
46 



applied direct on the wood without showing laps 
or brush marks, sandpapering thoroughly each 
coat, then proceed with waxing as specified. 
When well done this will give splendid results. 
Frequently mahogany and other woods than 
those specified above are finished after this man- 
ner. It is not unusual in procuring results to 
eliminate the shellac coatings, waxing as speci- 
fied direct on the raw wood. When stain is 
necessary apply wax direct on same. 

Often pleasing results can be obtained by us- 
ing a first class dead or flat varnish. For in- 
stance if a perfectly dead finish is required on 
open pore surfaces, after applying the stain, 
sandpaper and apply one thin coat of shellac, 
sandpaper lightly and apply one coat of a good 
flat or dead varnish, eliminate the waxing. To 
get a still flatter effect eliminate the shellac al- 
so. This process is not recommended for dura- 
bility, simply for its effect, and should only be 
used on open pore woods such as oak, where 
the broken effect of the wood surface destroys 
the varnish coating effect. In this window sashs 
and sills should be protected with a coat of good 
bodv varnish, when dry the gloss can be remov- 
ed by rubbing. 
Note 26.— This specification applies to white and 
yellow pine, also to maple. If this class of 
flooring is required to be stained, specify instead 
of the shellac, floors to receive one coat consist- 
ing of 25 per cent linseed oil and 75 per cent 
47 



turpentine, sandpaper and close up all imperfec- 
tions. Apply one coat of stain consisting of 40 
per cent linseed oil and 60 per cent turpentine, 
evenly brushed into the wood, color to be se- 
lected. Follow this with varnish as specified. 

The so-called "Liquid Fillers," that is pre- 
pared fillers sometimes used to coat over the 
surface and permitted to remain there without 
rubbing off, should never be used, for the reas- 
on that they do not dry thoroughly throughout. 
Many of them also have a tendency to discolor 
the wood, especially when they begin to bleach 
out by reason of age, etc. 

The object in going over this work with a very 
thin coating of oil and turpentine is, that if you 
were to apply the stain direct to the wood the 
result would be a clouded or mottled surface, 
owing to the natural characteristics of these dif- 
ferent woods to absorb more in one spot or 
place than in another. Very little if any stain 
should be left on the surface. It should be ab- 
sorbed uniformly by the wood, and be thorough- 
ly dry before the application of the varnish coat- 
ings. 

Where a dull finish is required, specify to be 
rubbed lightly with oil and pumice stone to a 
dull finish. A dull or flat varnish should never 
be used on floors. 

Note 27. — Very frequently the color desired for these 
floors can be obtained by adding necessary col- 
oring matter to the filler. The color of the shel- 
48 



lac (white or orange) should be determined by 
the color required. 

If a flat finish is desired, specify to be rubbed 
with oil and pumice stone to an even dull sur- 
face. A dull rubbed surface does not show sur- 
face scratches or abrasions as readily as a bright 
varnish gloss. Under no consideration use a 
flat or "dead" varnish to procure this result. 

For first class results you may eliminate the 
shellac coating and substitute one additional 
coat of varnish. It is very essential for best 
results that each coat be thoroughly dry before 
the application of another. 

This style of finish is suitable for residences, 
but proper care must be exercised that it be not 
abused, for at best a varnished floor surface 
from the nature of it is more or less fragile. 

Note 28.— This specification applies to practically 
all class of flooring woods and produces splendid 
results as a wax finish, being easily cared for by 
the house keeper simply going over the surface 
lightly with turpentine removing any surface 
dirt or imperfections, after which repolish with 
one coat of wax as specified. Especial care of 
the floor should be observed in front of the dif- 
ferent doorways, as that portion receives the 
greatest amount of wear. 

The whole secret of the success in obtaining a 

thoroughly practical waxed floor finish, is the 

recognition of the necessity of using a known 

good "Floor Wax." Then thoroughly hard- 

49 



LIBRARY OF CONGRESS 



JAN 18 



014 051 094 4 . 

en each coat with the friction caused by good 
honest hard rubbing. 

This manner of finishing as specified, while it 
produces the best appearing wax finished floor, 
has that which oftentimes is an objection, it be- 
ing quite "slippery." To remove in a large 
measure this objection eliminate the coat of 
shellac from the specifications. 

For dancing or ball room floors, I would ap- 
ply the two coats of wax direct to the wood, of 
a necessity the wax must be good and the rub- 
bing hard, allowing two days between coats. 



50 



